French Painter, 1836-1902 French painter, printmaker and enamellist. He grew up in a port, an experience reflected in his later paintings set on board ship. He moved to Paris c. 1856 and became a pupil of Louis Lamothe and Hippolyte Flandrin. He made his Salon d?but in 1859 and continued to exhibit there successfully until he went to London in 1871. His early paintings exemplify Romantic obsessions with the Middle Ages, while works such as the Meeting of Faust and Marguerite (exh. Salon 1861; Paris. Mus. d'Orsay) and Marguerite at the Ramparts (1861; untraced, see Wentworth, 1984, pl. 8) show the influence of the Belgian painter Baron Henri Leys. In the mid-1860s Tissot abandoned these tendencies in favour of contemporary subjects, sometimes with a humorous intent, as in Two Sisters (exh. Salon 1864; Paris, Louvre) and Beating the Retreat in the Tuileries Gardens (exh. Salon 1868; priv. col., see Wentworth, 1984, pl. 45). The painting Young Ladies Looking at Japanese Objects (exh. Salon 1869; priv. col., see Wentworth, 1984, pl. 59) testifies to his interest in things Oriental, and Picnic (exh. Salon 1869; priv. col., see 1984 exh. cat., fig. 27), in which he delved into the period of the Directoire, is perhaps influenced by the Goncourt brothers. Tissot re-created the atmosphere of the 1790s by dressing his characters in historical costume.  Related Paintings of James Tissot :. | the reception | In the Sunshine | On the Thames | Seaside | Young Ladies Looking at Japanese Objects |
Related Artists:
Perino Del Vaga
Italian Mannerist Painter, ca.1501-1547 Italian painter and draughtsman. He trained in Florence, first with Andrea de' Ceri and from the age of 11 with Ridolfo Ghirlandaio. According to Vasari, he practised drawing by copying Michelangelo's cartoon for the Battle of Cascina (destr.). For Pope Leo X's entry into Florence in November 1515 he painted an allegorical figure on one of the twelve triumphal arches. Soon after, an obscure Florentine painter called Vaga took Perino to Rome, where he became known as del Vaga. There he continued his drawing studies, copying from works of antiquity and Michelangelo's ceiling in the Sistine Chapel. On the recommendation of Giulio Romano and Giovanni Francesco Penni, he joined Raphael's workshop, where he learnt stuccowork and how to design grotesques, through assisting Giovanni da Udine in the Vatican Logge. Soon he was painting scenes from Raphael's designs, and five or six ceiling frescoes in the Logge, including the Story of Joshua and the Story of David, are generally accepted as his.
Sebastian Stoskopff
Strasbourg 1597-Idstein 1657 was an Alsatian painter. He is considered one of the most important German still life painters of his time. His works, which were rediscovered after 1930, portray goblets, cups and especially glasses. The reduction to a few objects, which is characteristic of early still life painting, can again be recognized in Stoskopff's painting. His chief works hang in Strasbourg and in Saarbr??cken. Sebastian Stoskopff was born in 1597 in Strasbourg. His father was employed by the city since 1590 and acted as a mounted courier or royal escort, driving a one-horse-carriage. In 1614, Stoskopff's father asked the Strasbourg council for help for his 17-year-old son. He wanted him to be able to learn the craft of painting, since Sebastian had already been extremely talented in drawing and painting since he was 15. The council agreed to provide their support and probably sent the young artist at first to the Strasbourg painter and copper engraver, Friedrich Brentel. However, he only learned how to further refine his drawing and was not, as hoped, introduced to the art of painting. In 1615, Stoskopff's father died and his widowed mother went to the Strasbourg council once again to ask for support for training from a recognized painter. Stoskopff was then sent to Daniel Soreau, a painter who was active in Hanau. In the beginning, Soreau was not very enthusiastic, since he usually chose his apprentices from among his relatives and close friends. However, he finally complied with the request of the council and assured them that would "make an Albrecht Derer of this apprentice". There is not a single definite picture by Daniel Soreau existing. It is only possible to draw conclusions about how well the master passed on his artistic skills to his students through the works of his sons, other apprentices of his workshop and through Stoskopff's works. After Soreau's death in 1619, Stoskopff took over his workshop with the apprentices, as well as his function as the master. One of the apprentices was Joachim von Sandrart, who later became a successful painter and who wrote the first important work on the history of art in the German language: "Teutsche Academie der Bau-, Bild,- und Malerey- Kenste". This work contains descriptions of the lives of earlier and contemporary artists, including descriptions of the time in Hanau with his master, Sebastian Stoskopff. After his attempt to get permission to settle in Frankfurt failed, Stoskopff went to Paris. He stayed there from about 1622 until 1639, which can be reconstructed from indirect reports and property inventories of Parisians. His first works in larger format were also created here, such as "Summer" or "Winter" (now both in Strasbourg).
TASSI, Agostino
Italian painter, Roman school (b. 1578, Roma, d. 1644, Roma).